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Interroger l’idéologie du studio Disney par la (re)composition musicale : une approche alternative de l’analyse filmique : La Petite Sirène (1989), La Belle et la Bête (1991) et Aladdin (1992)Naëck, Krishvy 03 1900 (has links)
Pour respecter les droits d’auteur, la version électronique de cette thèse a été dépouillée de certains documents visuels et audio‐visuels. La version intégrale de la thèse a été déposée à la Division de la gestion des documents et des archives. / Notre travail concernant Disney s’inscrit dans le champ de la musique de film, et
même si le studio a fait l’objet de nombreuses recherches tant sur des questions
esthétiques que culturelles, il reste intéressant à étudier, car il peut ainsi devenir l’objet
de recherche, non sur l’originalité d’un corpus, mais sur un déplacement de la méthode,
nous permettant d’interroger l’idéologie à l’œuvre. Notre thèse concentre son attention
sur La Petite Sirène (1989), La Belle et la Bête (1991) et Aladdin (1992) où il nous
semble que, en recourant à la recomposition de la musique de certaines séquences des
films, nous puissions faire jouer à la part de virtualité du texte filmique un rôle dans
cette entreprise critique : retrouver la voix des héroïnes Ariel, Belle et Jasmine. Nous
pensons que les lectures préexistantes ont fait le choix de prioriser le récit et que le
déplacement proposé par Stanley Cavell dans sa lecture de King Lear, prêtant la
cohérence au personnage, nous invite, sur le même modèle, à faire une lecture similaire
concernant les films de Disney. Si un geste de recomposition musicale peut nous aider à
penser ce rapport au personnage, c’est parce que nous pensons que la musique peut faire
entendre la virtualité d’un film (et plus précisément de ses personnages), et devenir par
cela un geste d’analyse critique de son idéologie, et ici particulièrement des rapports de
pouvoir. Recomposer certaines séquences importantes du film, c’est le rééclairer en
reprenant les matériaux musicaux mêmes du compositeur du film (Alan Menken), pour
en redistribuer les emphases — notion à laquelle nous ne donnons pas qu’une valeur
musicale, mais une valeur philosophique, reprenant à Stanley Cavell cette idée qu’une
différence d’accent peut faire toute la différence du monde. La recomposition musicale
met en acte les allers-retours indispensables à la compréhension des séquences que nous
travaillerons : elle redonne corps aux espaces de résonance du film et compose les
affleurements d’une promesse initiale proposée par le film vis-à-vis de son héroïne. Elle
aide à réfléchir au film et à ses interactions tout en faisant monter à la surface ladite
promesse dont le film cherchait à bloquer l’actualisation. Ces allers-retours nous
permettent de retrouver l’importance des numéros musicaux à l’intérieur des films dans
lesquelles s’expriment les héroïnes. En prolongeant notre analyse par le prisme de
l’intermédialité, nous réfléchissons à la porosité avec la scène de Broadway (ou plus
précisément ici avec le off-Broadway) qui permettent des doubles lectures issues des
numéros musicaux. L’ensemble de la musique, dans son lien au complexe audio-visuel,
nous permet ainsi de réfléchir aux rapports de pouvoir inscrits dans le film. / From aesthetics to cultural studies, Disney has been the subject of many studies.
Thanks to this prolific research, it is possible de study it by another methodological
angle to understand the ideology of and within the movies. Within the academic field of
film music, our thesis will draw its attention on The Little Mermaid (1989), Beauty and
the Beast (1991) and Aladdin (1992). It seems that, thanks to an alternative version of
the original score that we would compose, we may bring the potentiality inscribed in the
movie to be a part of our critical study: find the heroines’ voice Ariel, Belle and
Jasmine. We think that the previous studies of these films made the choice of
prioritising a narrative analysis where ours is to take into account of the character’s
consistency, as does Stanley Cavell in his reading of King Lear. The main idea is to see
this new composition as an alternative version the composer could have come up with,
and to measure how we can go from the recomposition to the original sequence and end
up with another angle for the analysis of the movie. We think that this method will
enable us to take account of the character’s consistency for the music can be a way to
hear the potentiality of a movie (and specifically here, the characters), so it will be an
opportunity to discuss Disney ideology. The musical recomposition of specifics
sequences will help us to point out that the film makes a choice thanks to musical
emphasis — notion that is not only musical but also philosophic, as Stanley Cavell
points out that a difference of emphasis is able to make all the difference in the world.
The musical recomposition enact the back and forth inside the different moments of the
movie to help us understand what is at stake: it enlightens the resonances between the
sequences and compose the surfacing promise initially build-up by the movie towards
the heroine. It also helps us thinking about the movie’s interactions while getting to the
surface the aforementioned promise the movie was trying to stop from actualising.
Going back and forth into the movie thanks to the musical recomposition brings to light
the importance of the musical numbers where the heroines have a space and moment to
express themselves. By extending our analysis through the prism of intermediality, we
consider the porosity of theses musical numbers with the Broadway stage (and more
accurately the off-Broadway) whose enable us to do dual readings of the movie. All the
music in its connexion to the rest of the audio-visual complex enable us to think about
the power relations which occurs in the movie.
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Pre-Existing Film Music Re:sourced : Technical Aspects and Narratological Implications of Audible Diegetic Transitions in Joker and Other Films / Förflyttning av tidigare existerande filmmusik : Tekniska aspekter och narratologiska implikationer av hörbara diegetiska övergångar i Joker och andra filmerDanstål Skiöld, Martin January 2023 (has links)
This thesis concerns itself with a phenomenon found in film music that can be described as audible diegetic transitions. In short, an audible diegetic transition occurs when film music shifts from one implied musical placement to another by changing its presented sound quality. This occurs predominantly through the employment of music that is pre-existing in relation to the release of the film where the music is utilised. These audible diegetic transitions are categorised as aural displacements and transaural displacements which are both anchored in previous research concerning stable musical placements. In order to answer the research questions regarding technical aspects and narratological implications, the thesis is centred around a film music analysis. The demarcation of said analysis uses pre-existing songs from the film Joker (Philips, 2019) as its main focus. In order to provide a colourful and meaningful discussion the selected material also contains a variety of examples from other films. The analysis shows that the selected audible diegetic transitions can provide narratological implications both for a film as a whole and for a specific scene or sequence in any film. In Joker specifically, the audible diegetic transitions arguably contain the narratological implication of adding to the retrospective and unreliable narration, which is important for the story of the film. The thesis also argues that the technical aspects of the analysed audible diegetic transitions can be condensed into being either diegetic to commentary, or vice versa. Diegetic music is, in this context, defined as music that is implied as being heard in the acoustic space of the story-world, whereas commentary music is an umbrella term defined as music that is not implied being heard in the acoustic space of the story-world. The analysis shows that these transitions can transpire either instantly or gradually with the change of sound quality from being either narrow or wide. These technical aspects contribute in understanding the narratological implications of said audible diegetic transition by categorising them as either emotive or grounding. Both of these narratological implications can be concluded and described as swift enforcers of the relationship between the one consuming the film and the characters, or locations, of the film they are consuming. Audible diegetic transitions figuratively breach the fourth wall that is the screen.
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Formanův Amadeus a role hudby ve filmové naraci / Forman's Amadeus and the Role of Music in Film NarrativeBazika, Tomáš January 2020 (has links)
Forman's Amadeus and the Role of Music in Film Narrative Vedoucí diplomové práce (supervisor): Zpracoval (author): Mgr. Tereza Havelková, Ph.D. Tomáš Bazika studijní obor (program): Praha, July 2020 Obecná teorie a dějiny umění a kultury Abstract The subject of this thesis is a study of the ways of using the music of Wolfgang Amadeus Mozart in Miloš Forman's motion picture Amadeus. In my thesis, I focus on how Amadeus employs pre-existing classical compositions to create a new, largely fictional narrative based on the life and music of Mozart. I argue that instead of applying pre-existing pieces as film music, Amadeus conceives individual scenes as well as its overall filmic structure to accommodate the music's expressive qualities and biographical associations. I engage in a conversation with relevant existing scholarship to establish a theoretical framework for a systematic interpretation of the meaning-making roles of music in Amadeus. Drawing on Claudia Gorbman's concept of diegetic, non-diegetic and metadiegetic sound categories, I apply her taxonomy to Amadeus in order to show how not only the selection and placement of music but also its relation to the diegesis determine its impact on the narrative. I propose that in its treatment of Mozart's music, Amadeus reverses the traditional hierarchy of the...
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